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Updated: June 22, 2025


The subject is the same as in Goethe's Faust, and Goethe, who knew the English play, spoke of it as greatly planned. The opening of Marlowe's Faustus is very similar to Goethe's. His hero, wearied with unprofitable studies, and filled with a mighty lust for knowledge and the enjoyment of life, sells his soul to the Devil in return for a few years of supernatural power.

Marlowe's praises would sink deeper into Will's heart if the author of the "Jew of Malta" were less unsteady on his legs. And yet he takes Kit's words kindly, and is glad to hear that "Titus Andronicus," produced the other day, pleases the man whose praise is most worth having.

Spenser's "vine-like" luxuriance, Marlowe's soaring energy, Donne's grave realistic subtleties, illustrate indeed that note of individualism which is never lacking in the great poetic periods. This individualism betrays itself in almost every song of Shakspere's plays.

If it implies, or can be made to imply, anything bad, it is instantly laid hold of as expressing the very truth about him. You know the story of Helen of Greece, whom in two of his 'mighty lines' Marlowe's Faust so magnificently apostrophizes: 'Is this the face that launched a thousand ships, And burned the topless towers of Ilium? 'Hell in her name, and heaven in her looks.

Though his voice was harsh and his enunciation offensively conceited, he read with so much propriety of expression and manner, that I was always glad to listen: even when I was pressed into the service as his accomplice, his enemy, or his love, with a due accompaniment of curses, caresses, or kicks, as the course of his declamation required. One play in particular, Marlowe's Tragedy of Dr.

But it would be something too extravagant for the veriest wind-sucker among commentators to start a theory that a revision was made of his original work by Marlowe after additions had been made to it by Shakespeare; yet we have seen that the most unmistakable signs of Marlowe's handiwork, the passages which show most plainly the personal and present seal of his genius, belong to the play only in its revised form; while there is no part of the whole composition which can so confidently be assigned to Shakespeare as to the one man then capable of such work, as can an entire and important episode of the play in its unrevised state.

So far as internal evidence is concerned the poem has absolutely nothing but its own perfection to connect it with the name of Marlowe; it is utterly unlike all other verse, dramatic, narrative, or lyric, ascribed to him. An admirable eclectic text, which exhibits to the full the delicacy of the rhythm, has been prepared by Mr. Bullen in his edition of Marlowe's works.

He even went so far as to ring up a hotel at Southampton and ask questions which bore out Marlowe's story of his errand. This was the call he was busy with when Martin was in the library. Now let us consider the alibi. If Manderson was in the house that night, and if he did not leave it until some time after twelve-thirty, Marlowe could not by any possibility have had a direct hand in the murder.

Meanwhile the poems composed by the chief dramatists Shakspere's 'Venus and Adonis, Marlowe's 'Hero and Leander, Marston's 'Pygmalion, and Beaumont's 'Hermaphrodite' are all of them conceived in the Italian style, by men who had either studied Southern literature, or had submitted to its powerful æsthetic influences.

I had been led to send the telegram which brought this very helpful answer by seeing on the mantel-shelf in Marlowe's bedroom a photograph of himself and two others in the costume of Falstaff's three followers, with an inscription from The Merry Wives, and by noting that it bore the imprint of an Oxford firm of photographers.

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